Akakia, also called anexikakia (Gr., "without guile" or "goodness"): a small cylindrical purple silk pouch held by the Byzantine Emperor during court ceremonies. The luxurious material belied that fact that it contained earth or dust from a grave, which was intended to remind the Emperor of the ephemeral nature of life and its glory. The akakia is also found in imagery where Byzantine royal iconography has been appropriated by non-Byzantine rulers; as for example in the "Coronation Dinar" of the Serbian Tsar Stefan Dusan and in the Gospels of the Bulgarian Tsar Ivan Alexander.

Baldachin, Architectural canopy supported by slender columns marking and enclosing a specific spot in the church, usually the altar.

Chiton, chitones (Gr., "tunic"): an adaptable garment that both Byzantine men and women wore. The garment could either be long or short, sleeveless or with sleeves. The garment was fastened at the shoulders and tied around the waist; court rank was discernable from the type of chiton one wore, a kamision being emblematic of lower rank than the skaramangion.

Chlamys: a long cloak thought to be of Macedonian origin and initially used for riding, military campaigns or hunting. The chlamys was worn over a chiton, the fabric was folded in half vertically, and the front and rear sections were attached to one another by a fibula fixed at the right shoulder. The wearer’s left hand remained underneath the fabric, whereas the right hand was free to utilize a spear or whip. The fibula could be moved under the chin to free both arms. During the Byzantine period the chlamys came to be part of court costume, with different colors associated with specific offices. Purple ones were worn by the Emperor with a gold tablion at his coronation. In art the chlamys is worn by Old Testament Kings and in numerous depictions of military saints.

Colobium (Lat. From Gr., "kolobos," "docked" or "curtailed"): a long tunic, with or without sleeves. The sleeveless colobium is worn by Christ in depictions of the Crucifixion as late as the Middle Byzantine Period.

Epitrachelion, epitrachelia (Gr., "upon the neck"): a long liturgical scarf approximately two meters in length, suspended from around the neck of priests and bishops, and the most important insignia of their priestly office. The two pieces of fabric are held together by buttons or bells, and tassels or fringes hang from the bottom. Priests are required to wear the epitrachelion for their priestly duties, they may celebrate the less solemn offices while wearing them without the phelonion: i.e., Lesser Vespers, Compline, and Prayer-services in private dwellings. Depictions of epitrachelia date to as early as the tenth century, examples do not survive before the fourteenth century. Although the epitrachelion is usually hidden under the phelonion during the liturgy, they are often richly decorated, typically with the Deesis, or scenes from the Twelve Great Feasts; they were probably among the first vestments to receive embroidered decoration

Fleuron (Fr., jewel): decorative element of tri-lobed shape, representing a stylized flower, reminiscent of the fleur-de-lys.

Hetoimasia (Gr. "preparation): The throne of God, laid out in preparation for the Last Judgment. In art it was shown as an empty throne with the instruments of the passion behind it.

Kekryphalos (Gr., "hairnet," "woman’s headdress"): wimple worn by the Virgin and other female saints under the maphorion.

Loros, loroi (Gr., from "lorion," "a strip of leather"): a long brocade scarf, heavily decorated with precious stones and worn by the Emperor at Easter and select other occasions. Constantine VII Porphyrogennetos comments in his Book of Ceremonies that the loros symbolized the burial of Christ, as it crossed over the body as a shroud. Archangels also are depicted wearing this garment, placing the earthly Emperor in the same rank and role as a protector of God

Mandorla, Italian, "almond" The almond-shaped field of radiance and splendor that entirely surrounds a holy personage, such as the Virgin Mary, or Christ in a Last Judgement scene.

Manus Dei (Lat. "Hand of God"): depiction of the hand of God making a gesture of blessing and often seen in depictions of the Baptism of Christ and the Martyrdom of the Holy Forty of Sebasteia, among others

Maphorion, maphoria (Gr., "shawl," "veil"): long veil covering the head and shoulders of the Virgin and female saints. The maphorion of the Virgin was one of the most prized of Constantinople’s relics, and was treasured at the church of the Blachernae.

Military Saint: a group of popular soldier-saints including George, Demetrios, Menas, Mercurios, Theodore Stratelates (the General) and Theodore Tyron (the recruit) who were typically depicted in martial costume. These saints were believed to have been martyred for their faith in Christ, and their unwillingness to fight for the Pagan Roman Emperors. They came to be seen as battling against the enemies of Christ and of Christian Monarchs. They were petitioned for a variety of personal causes as well as for the protection and defense of cities. The Late Byzantine military aristocracy identified closely with these saints and placed their images on their seals.

Omophorion (Gr., "cape," "scarf"): long ceremonial scarf worn by bishops, decorated by crosses. The omophorion was worn over the phelonion, and later over the sakkos. The crosses of patriarchal omophorions were blue

Orans, (Latin, "praying") Early Christian posture of prayer, which consists of a figure standing with arms outstretched. It was rarely used in the Middle Byzantine period except for certain images of the Virgin.

Pallium (Lat., "outer garment"), see himation.

Pendoulia, prependoulia; hanging jeweled ornaments attached to a crown

Sagion (Gr. From Lat. "sagum," "mantle," "military uniform"): a short cloak worn by members of the imperial court, the emperor wore one dyed in purple over the skaramangion.

Sakkos, sakkoi (Gr., "sack"): Episcopal garment originally derived from imperial costume. The sakkos is a loose, poncho-like tunic created of a single rectangular piece of fabric with a hole in the center for the head. After the posterboard-like garment has been suspended around the bearer’s neck, a series of bell-like buttons or ribbons running up the its left and right sides are utilized to secure the front and rear panels to one another. Originally sakkoi had quite truncated sleeves, as is the case with the Major Sakkos of Metropolitan Photios. The use of the sakkos was a privilege bestowed by the Basileus upon individual patriarchs as a sign of his personal favor. The first literary evidence for the garment is found in the writings of Balsamon, Patriarch of Antioch (ca. 1130–1140, dies after 1195). By the thirteenth century; however, it was worn by all patriarchs and some metropolitans, but only on Christmas, Easter and Pentecost. After the Fall of Constantinople in 1453, the sakkos replaces the polystavrion to become the Episcopal garment par excellence.

Skaramangion (Gr., "from Kirman"): a silk tunic with long sleeves, probably based upon a Persian riding costume, worn belted by the emperor and other members of the court; also the word for the silk cloth used to cover the altar.

Suppendaneum (Lat., "footstool): shelf-like board affixed to the foot of the cross to support Christ’s feet; an honorific pedestal or podium shown in depictions of Christ, the Virgin or saints.

Tablion: piece of square fabric sewn on the chlamys of dignitaries. Badge of office in the form of a richly woven or embroidered patch of cloth applied to garments.

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